EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of November 21, 2012

Avengers #34: The first of the one-two punch that is the End of Brian Michael Bendis's Avengers Run. I wonder if the essay at the end of this issue will run in next week's New Avengers finale as well. It seems like that would be the more fitting place. While Bendis began on Avengers technically, New Avengers was his book really. I liked this end well enough. Wonder Man is put back in the box alongside the Wasp. I'm not sure Bendis ever really did enough with Wonder Man, but I always liked the idea of his turn. Not a 'bring the house down' finale or anything, but I liked this. [***1/2]

Daredevil #20: A well-crafted comic. [***1/2]

Hawkeye #4: Probably my favourite issue of this series so far from a writing perspective. Some clever bits, too. A bit more balanced... Yeah, I dug it. [****]

Indestructible Hulk #1: One of the few Marvel NOW! titles that I'm giving a single issue to make me continue and, while I think the concept is clever and reminds me a bit of Joe Casey's approach to Bruce Banner, it doesn't really interest me. It's the sort of idea that can only go so far because of the limitations of the Marvel Universe and I can see that that will always be a frustration for me with a book like this. The conflict between Marvel's internal reality demanding it approximate our world and the level of genius it possesses is one that I try my best to avoid, because it's just hell watching. Also, the Hulk never seems to interest me. He smashes. Yay...? Whatever. [No issue 2]

Ultimate X-Men #18.1: Brian Wood jumps over 'the cure' almost as quickly as he jumped over the end of the Sentinel conflict. Good for him. A transition issue that allows the book to jump into "Reservation X" in issue 19 without too many distractions. The problem with the cure is that it's partly an effort to exterminate mutants, but it's also a story-ending machine where those that don't take it don't necessarily engender sympathy. There's the idea that mutants are born that way... but they also only get their powers as teens and most mutants in the Ultimate Universe are teens... is that who they really are? And given the sort of lives they've been forced to lead as mutants, why would they want to remain that way? Mutants in the Ultimate Universe have had a much harsher time of it than the regular MU and by sidestepping the conversation as much as possible, Wood doesn't linger on that too long. That QQ mention has me wondering, though... [***3/4]

The Unwritten #43: It's shocking to see fictional characters like that... but... there isn't any effect. I know that Leviathan hurt is bad for humanity, but the shocking lack of effect of the damage of fictional characters take a bit of the urgency out. As Tom says, this doesn't change anything in the real world. So, why care? This book has become about managing destruction that seems contained in a way where we know it's bad, but that's only because we've been told. What we've been shown doesn't actually seem to matter. There is something interesting in watching a book flail about like this, unable to find its footing, though. I'm with it. So: I'm with it. [***]

Wolverine and the X-Men #21: Amusing, but something that misses my sensibilities. That happens. No one's fault. This just doesn't click with me. [***]

Wonder Woman #14: Oddly, my least favourite pages were the final ones with Highfather and Orion. The rest was good: Wonder Woman winning someone over with patience and genuine caring, and the gods being dumb and petty... Good stuff. [***1/2]

Later

Direct Message 3.5: Alex Ross, Kingdom Come, and Marvels

A while back, Alec Berry and I began our next Direct Message discussion on Alex Ross, specifically Kingdom Come and Marvels. It sort of petered out and died, mostly because of Alec. But, I understand. Part of his problem is that he's still finding his voice in criticism and just wasn't happy with what he said here -- mostly how he said it. He's struggling a bit with trying to be honest and not too influenced by others and it's something that we've all gone through at different times. So, I never had any issues with him not wanting to continue this one. But, why let it go to waste? It's up over on the Chemical Box and we're going to begin another one soon on The Manhattan Projects. Now, I stand by everything I say in this discussion and how I said it.

You can read Direct Message 3.5 HERE!

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Weeks of October 10 & 17, 2012

So: I'm married now. We left town last Wednesday night and I didn't feel like bringing my comics with me. I'd read them all while Michelle was teaching a gym class as usual, but didn't have time to write about any of them (hell, I didn't even get to open Building Stories until yesterday!). That means you get a double-sized dose of my EXCLUSIVE! mini-reviews and star ratings this week. Aren't you lucky? Yes, you are. And a new Riding the Gravy Train will go up later today or tomorrow or this weekend, taking into account two weeks' worth of Avengers vs. X-Men fallout goodness.

Avengers #31: Is that Hope? Or someone else entirely? I DON'T KNOW! Comics are fun! A slight breather issue, which suits me fine. I'm glad that Bendis is trying to do something with the Wonder Man stuff. [***1/2]

Avengers Assemble #8: "Thanos loses because the US military can't make shit that works right." I didn't particularly enjoy Thanos being shunted back into basic bad guy mode, but, whatever, it was a clone. Thus ends the weakest part of the Bendis/Avengers era. I can say that with confidence. As much as I found the Secret Invasion tie-ins tedious, they were better crafted on almost every level. Avengers Assemble #1-8 were the worst Avengers comics released with Bendis's name attached to them. [Fucking horrible shit]

Captain America #18: Thus ends the worst Captain America story released with Ed Brubaker's name attached... I guess it really is time for people to move on, eh? [**]

Daredevil #19: Who doesn't love a cover that shows the end of the comic? ME! ME! ME! Another solid, good issue. [***1/2]

Frankenstein, Agent of SHADE #13: And this title joins the "Rotworld" fray in time to end in a few months. This comic made very little of an impression upon me. The ending was good. I like the idea that Frankenstein is sort of outside the three 'realms' (or whatever you'd call them). [**3/4]

Godzilla: The Half-Century War #3: From a writing perspective, this issue didn't do a lot for me. Lots of exposition, just throwing details at us -- details that mostly don't matter. But, hey, James Stokoe drawing a bunch of monsters...! Can't go wrong there, can we? [***1/2]

Hawkeye #3: An amusing issue centred around the trick arrows and the word 'bro.' I dug it. [***3/4, bro]

Marvel NOW! Point One: The second one of these big Point One anthologies that Marvel has done and the central story tying things together is a bit better than the previous (with weaker art) and the teases are a bit better. Then again, they teased a lot of comics I'm already interested in like FF and Young Avengers. On the fence a bit about Guardians of the Galaxy and Cable and X-Force. I solidly don't give a fuck about Nova or Secret Avengers. A mixed bag where I enjoyed some bits quite a lot and skimmed through others. [If I waited a month, I probably could have gotten this for free from my shop... but I like them, so I'll give them my money]

The Massive #5: A really good self-contained issue that jumped away from the Kapital for the most part. An early bit of muscle flexing by Wood? I hope so. [****]

The Mighty Thor #21: A weaker finish than I was hoping for. I guess there just comes a point where the constant swerves and tricks and doublecrosses just become noise. This story was filled with them, so they lose a step by this point. Also, it felt like a lot of build-up for a lot of nothing in many ways. Surtur was a bit of a strawman villain here, wasn't he? Alan Davis kills it on art -- and, from an intellectual standpoint, I liked a lot of the ideas here, they just didn't carry the emotional weight you want from a big finale like this. [***1/2]

Punk Rock Jesus #4: There's still more than enough of a religion-hating young angry man inside of me to absolutely adore the end of this comic. I really enjoy this comic now, but my 17-year old self would have loved it. This would have been his favourite comic series of the year -- maybe ever. [****]

Secret Avengers #32: Decent end to this whole Abyss Crown story and I liked Black Widow calling Ant-Man out for being a LMD and no one believing her. [***1/2]

Ultimate Iron Man #1: I didn't even know what the point of this comic was until the end and, by then, the mediocre dialogue and ugly art made me not give a fuck. [Not buying issue 2]

Ultimate X-Men #17: You can see a bit of DMZ in Nick Fury's speech to Kitty at the end. This is humming right along, executed well, and one of the more interesting comics I'm reading right now.

Untold Tales of the Punisher MAX #5: At what point in the future does the father/son stuff take place if the father, as a teen, had a dad that had a giant DVD collection? Apollo 13 seems to have first come out on DVD in 1999 -- and, since the dad took it everywhere, you have to assume that his death happened at least a year or two after it was released, meaning that the flashback story took place in the 2000-2002 range. Meaning, that the framing story, if in the presents, would be 10-12 years later. Given that the son in the framing story looks to be in the 10-12 age range (maybe younger, but the art provides no solid clues), it clearly can't be the present, because the father didn't look like he was getting any girls pregnant while stalking the Punisher. Just the things you think about when reading a tired, cliched, mundane, tedious comic book... [*3/4]

Wonder Woman #13: A transition issue, sort of. Suits me fine. I'm enjoying the ride. [***1/2]

X-Men #37: The end of Brian Wood's tenure on the title and it's a good conclusion. His whole run told a nice story with a clever concept that mostly lent itself to exploring the differing views of mutantkind by members of the team -- and, in the process, bringing about conflict. The Storm/Colossus fight was so charged, because of the slow build to it. The way it was teased and the stakes slowly raised. [***3/4]

The Zaucer of Zilk #1: Yessssssssssssssssssssssssssssssssssszzzzzzzzzzzzzzzzzzzzzzzzz... [****1/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of September 19, 2012

Daredevil #18: It won't end this way, but there's part of me that wants to see the conclusion to this story be that Matt has gone insane finally. Just fucking lost touch with reality. There are many reasons why that won't happen, but it would be fitting. What are the odds that the cause of Matt's problems also caused the death of the gangster guy? [***1/2]

Godzilla: The Half-Century War #2: This issue had a little more meat on it than the first. The backdrop of Vietnam, for what little the comic did to address that conflict, allowed for the American presence to bring something to this issue. It's also helped by the main characters knowing what they're doing to an extent. Stokoe's art continues to wow. Great settings and his Godzilla is fierce. [***3/4]

The Mighty Thor #20: The way Loki brings down Volstagg is masterful and we see him already pushing towards his turn back to the good side. A more low key issue than last week's installment. An adjusting issue as we prepare for the big push to the end. But, Alan Davis, motherfuckers! [***3/4]

Spider-Men #5: There are two types of people in the world (for the purpose of this post): people who find the whole "And, most of all, I have to tell you that--" tease cute and those that don't. I do not. But, hey, it beats actually having to say something then, eh? I did like the final page and am curious what that will lead to. [***1/4]

The Ultimates #15: Americans would vote Ultimate Captain America President, too. [**1/4]

Untold Tales of the Punisher MAX #4: That twist was easy to spot (immediately) and this issue didn't offer much else. An empty exercise. That's all this was. [**]

The Unwritten #41: At what point does a supporting character get to be pissed off that they're a supporting character? After all, Savoy's actions put him in this place -- he chose it. He chose to be Tom Taylor's sidekick, so is it fair for him to turn on Tom here? Fair to blame Tom for what he is and what Tom is? Tom has a strong influence, yes, but it's unintentional. His reaction is so hateful in many ways... and futile. We know that he won't become the protagonist of this story now. The sooner he accepts that... [****]

Wonder Woman #0: Excellent issue. Nice to see War take a central role here after he's mostly stayed off the sides in the present (perhaps in part because of what we see here). Interesting that Azzarello only refers to the character as 'War,' too. I haven't checked thoroughly, but his proper Greek pantheon name isn't used, I don't think. Cliff Chiang's art is simple and clear, but conveys a stunning amount of emotion. A light tone on the surface from both the writing and art that makes the darker, deeper stuff below the surface hit harder. [****1/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of August 15, 2012

Butcher Baker, the Righteous Maker #8: I can only imagine how frustrating the wait must have been for Casey given that this is the last issue. That was a surprise, wasn't it? I can't recall being surprised like that before. The comic just comes out and, boom, done. It snuck up on us. And I think it was the right call. Not just ending the book -- who am I to tell these guys how long to keep making this book -- but not announcing it. The shape of the story wasn't apparent until now. It wasn't a 'waiting out the clock' game. No looking at your watch and going "Oh, there's only five minutes left in the episode, I guess it's time for them to catch the killer" bullshit. Instead, it's a wonderful surprise kick to the gut with strong writing, amazing art, and a desire for more. Always leave 'em wanting and all that... But, also, everything is ending now it seems and, now, this, too. Just when I thought I had it back, it's over. That kinda sucks. [****1/2]

Daredevil #17: I don't know why, but I have the impression that this comic is, like, 40% stories about the past. I get it, Matt and Foggy are best buds and the current situation is unnatural. Good art. [***1/2]

Fatale #7: Something was lost in the wait... What? It's true. [***1/2]

Wonder Woman #12: The fight scene! Apollo on the throne! THE FINAL PAGE! And, now, we have to wait an extra month for what happens next thanks to fucking zero month. [Fuck you, DC]

X-Men #34: Five pages just to show some guy on a boat getting a package... Only one page of Cyclops chewing out Storm... Cyclops definitely has that 'asshole police chief' vibe in that scene. I'd read more comics about that. I really would. Hell, I would have read a comic about a small police squad in Utopia, busting up crime, busting heads... did such a comic exist and I missed it? Probably not. I do like this comic, though. They're trying to take down mutant-gene-drinking L. Ron Hubbard after all. That's pretty neat. I wish Roland Boschi would let loose a little more, though. [***1/2]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of August 1, 2012

Action Comics #12: How can one empty their brain of all thought and still explain how they're emptying their brain of all thought? Also: RIP Johnny Clark. [***]

Age of Apocalypse #6: I love how, on the cover of this issue, Cyclops takes a punch from Colossus and his head stays attached to his body. This series remains a little strange, a mixture of awful people and even worse people... a lack of anything approaching a plot... characters that fail to leave any impression... Yet, I'm drawn to it somehow. [***]

Black Kiss 2 #1: This is some fucked up shit. A dude survived the sinking of the Titanic because a Succubus anally raped him. A move screen comes alive and shoots out tentacle penii to rape the audience. There... there's something wrong with Howard Chaykin, I think. [So... I have to wait a month for issue two?]

The Boys #69: We march towards the conclusion and it's not quite the same lively march that other Ennis series have had at the end, but the sense of dread is somehow bigger. It's a proper superhero story in many ways. A pretty easy to grasp attempt to kill a large chunk of the world's population, allies betrayed and killed, and one lone man standing alone to stop his former mentor. It was inevitable almost that, after last issue, two more would fall here. What I can't figure out is how the V-A folks will factor in. And what of Annie? [****]

Daredevil #16: The Pym/Murdock stuff left me cold, but Waid and Samnee nailed the Foggy/Matt scene. [***1/2]

The Defenders #9: Heh... I liked that. It never quite cohered how you can picture it meaning to, but it was still pretty fun. Somehow, though, two issues in and McKelvie's art hasn't quite lived up to expectations/past work. It feels almost at odds with Fraction's writing. He needs something a little wilder. [***1/4]

Fury MAX #5: Reading this, if this weren't based on what happened, you'd think that Ennis was writing a pretty bad comic in how the whole Bay of Pigs thing goes down. And, yet, that's how it happened. Fucked up. I love their surprise when they learn that Castro wasn't hiding in some bunker, letting other people do all of the fighting for him. [****]

Gødland #36: From the beginning of this issue, the endpoint seemed obvious, but no less satisfying when it was reached. It's amazing how big this got while still maintaining a small, human perspective. Scioli fucking brought it and Casey is at his verbose, hyperbolic best. This is the comic that I'll be thinking about for a while, picking up, flipping through, and just lingering on cøsmic cømic gøødness. [øøøøø]

Hawkeye #1: Not at all what I was expecting. This is a pretty different take than what we've seen before and it has potential. A little cheesy in places, but definitely an attempt to carve out a unique spot for this character. And, y'know... David Aja... yeeeeeeeeeeeeeeeeeeeeeeeeeah. [***3/4]

RASL #15: And, so it ends where it began and it's a great final issue. Smith lingers a bit here and there and his visual storytelling is incredible. So clear and engaging. I'll miss this book. It was always something new and surprising right down to the final page. [****1/2]

X-Men #33: Somewhat disappointing. I'm not really a fan of the whole 'bad guy is confronted, brags about the hero is too late, and kills himself' thing. It seems like a cheap way to provide 'closure' on the story while leaving the door open for more later. Like, the cheapest way to do so. But, the focus here is more on the characters and what this mission meant to them and, in that respect, Wood and Lopez succeed. [***1/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of July 18, 2012

Daredevil #15: Goddamn, that's some of the old Daredevil stuff, isn't it? Inventive, smart, clever -- Waid's writing is on point and gives Samnee a lot of chances to show off. The best issue of this series in a while. [****1/4]

Journey into Mystery #641: Wow. I've been running cold on this book for a while and this was, like Daredevil, a reminder of why I liked this title so much. The stuff with Leah was heartwrenching and the end of the issue was a kick in the gut. Bring on the Thor crossover! [****]

Untold Tales of the Punisher MAX #2: This was a surprise. Another story that gets the point of the Punisher, keeping mostly as a force of nature that cannot be killed (despite us seeing his death). Latour's voice is a strong and distinct -- this kind of reminds me of Ennis a bit, but not as 'cute' as Ennis can get. Willumsen's art is the perfect match for the writing. Cartoony, messy, broad, and just in your face. Great stuff. [****1/4]

The Unwritten #39: I love the art on the flashback bit in this issue. We also get a more backstory on Bruckner. I like how we still haven't seen Tom this arc yet. Still unsure if this book has the direction it needs -- if the story is there. But, this issue is the best of the arc so far. [***1/2]

Wonder Woman #11: Apollo and Artemis as badass villains who tear through our heroes is a nice move. There's a genuine sense that these two cannot be defeated by Diana, Hermes, and Lennox. Lennox in particular gets the shit kicked out of him. After 10 issues of them... well, not breezing through things, but seeming to have a plan and not looking terribly overmatched, this is a nice curveball. [***3/4]

X-Men #31-32: The first issue of Wood's run on this title had a similar vibe to when Warren Ellis wrote Astonishing X-Men and that doesn't entirely go away. The 'proto-mutants' is a good idea and makes sense -- better, Wood develops it well. Where he differs from Ellis is how much he focuses on the characters. A lot of space is given to Storm having to deal with the members of her team questioning her approach to the situation and it works quite well. I'm digging the art as well. I may have to stick this on my pull list. [***1/2]

Counter X: X-Force -- Rage War: I can't remember if I completely read these issues. I know I read all of the "Counter X" X-Man and Generation X stuff up right until the end, but I liked both of those more than X-Force. X-Force just didn't land for me like the other two had and it shows in this second collection, delivering the final six issues by Ian Edgington and Jorge Lucas (along with the 'Rough Cut' of the first "Counter X" issue of the series). Warren Ellis doesn't even get a 'plot' credit anymore and the titular "Rage War" story is a mess. Filled with twists and convoluted science -- say what you will about Ellis, but that is a man who works his ass off to make complicated things simple and easy to read. Edgington doesn't do that here. The only time that things seem like they're on track is in the two-part finale where X-Force begins taking down every target Pete Wisdom put the team together to take down. Fuck 'innocent' people, fuck 'murder is bad,' just a team of 'terrorists' bringing down every scummy and horrible thing they can. That is interesting. Lucas's art is hit or miss. He shifts between a detailed style and one that's akin to Ladronn at his most 'Kirbyesque.' Some panels are gorgeous, others are ugly and sloppy. Glad to have this, though. All Marvel needs to do is collect the final five issues of X-Man and Generation X now... [**3/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of June 20, 2012

The third "...And the Superhuman Review" where Brian and I discuss Before Watchmen: Comedian #1 is up. No contribution to Spandexless Reads this week, because my internet was down for a couple of days -- same reason why Random Thoughts didn't return this week. Ah well. The world survived somehow.

Casanova: Avaritia #4: I reread the first three issues on Tuesday and... I don't know, man. It feels like running away. Because it is running away. First, he sends his mom and sister away. Then, he almost saves them all by unmaking himself. Now, he runs away... In some ways, Avaritia has been a mess, spinning out from a single concept/mood towards this ending that seems like it should be big and mean something like the two before it and... it doesn't. It doesn't feel like much, man. It feels like running away. Then again, from a certain angle, that's what this series has always felt like to an extent, except the best moments came when characters didn't try to escape, didn't try to leave, they just stood and took it. I don't know, man. [Great art, though, of course]

Daredevil #14: Great-looking comic and... I... don't care...? That's how it feels when a new issue of this comes out. That whole Omega Drive bullshit just dragged me down. What began as a series that felt a little special quickly became like the rest... not really fair or anything, because this is an enjoyable comic. I loved the final page. Chris Samnee draws very, very well. Mark Waid's writing is clever. But! But but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but  but but but but but but but but but but but but  but but but but but but but but but but but but but but but but but but but but but... [But]

Journey into Mystery #640: The finish seemed obvious a mile off, but some clever writing here nonetheless. I like the idea of old gods vs. new gods, especially when it's not about simple destruction/replacement or the idea that the new gods are somehow worse than the old ones. Neil Gaiman has done some nice work on the matter and I like this take, too. [***1/2]

The Unwritten #38: Still unsure about the new 'season' of the title. Some of the underlying bits are nice, especially Tom being kept off-panel, but it also feels like... spinning wheels somehow? Like there isn't a clear idea yet of what this book is about. It could be about the idea of Leviathan dying and what that means... but that's not there yet. Odds are the whole arc will lay things out, but this is what I'm stuck with right now. [**3/4]

Winter Soldier #7: As far as car chases/highway action scenes go in comics, this was pretty well done. [***3/4]

Wonder Woman #10: There's a part of me trying not to laugh about this comic being about Wonder Woman and the gang teaching Hades to love himself. That's... so fucking weird, man. But, Diana's "I love everyone!" was fantastic. Gotta just embrace it, y'know? Consistently good comic. [***3/4]

Later

The End is the Beginning is the End: Irredeemable #37

[I don't normally do this, but seeing as how this is the day that this issue comes out: spoilers of Irredeemable #37 ahead. Seriously. The thing I'm writing about more than anything else is the very end of that issue, of the entire series. If you don't want to know what happens, don't read this post. Don't.


There.


You have been warned.


If you're spoiled now, it's your own damn fault, so don't blame me because you have an odd condition of intermittent literacy.]

The announcement a few months back that Irredeemable (and its spin-off title Incorruptible) would be finishing was surprising. It was inevitable, honestly, but it seemed soon somehow. What series ends at issue 37 -- on purpose? Just a shade over three years of Mark Waid's 'Superman gone wrong' saga that grew so much beyond that initial premise and it seemed short.

When the series first began, it gained a fair amount of notice, because here we had Superman Fanboy #1 writing a comic where an obvious Superman analogue 'turned evil' and crippled the world, seemingly poised to kill everyone on it. More than that, those initial issues were filled with twisted/altered versions of Superman's history, his supporting cast, his villains, and the DCU that flowed out of Superman... It wasn't quite as simple as that the further we were brought into the story and the Plutonian's history. This wasn't simply one bad day turning him evil; this was a lifetime building to an incredibly unstable person embracing who he always was after years of fooling everyone else. Waid really hit upon some fucked up ideas, particularly when the Plutonian's arch-enemy, Modeus, revealed why he's so obsessed with the Plutonian and coloured any future Superman/Lex Luthor stories with an uncomfortable sexual undertone.

As the series progressed, it moved away from that initial concept and began to explore what happens after 'Superman turns evil' with the ramifications on the world, various stories about the Plutonian off-planet, the remaining heroes trying to fix things. Of course, these changes into a series that was more original and, honestly, smarter and more engaging, also resulted in it being shunted off into the 'Oh, is that still coming out?' zone of comics. No longer new and 'exciting' and relying upon a twisted version of the superhero, Irredeemable didn't have that hook that made people have an opinion about it, whether they'd read it or not. That it also suffered through some art changes that left the title less visually appealing didn't help, honestly. The Incorruptible spin-off also sped up people not caring as much somehow. Like the title wasn't as important anymore; that it wasn't just a single book, but a burgeoning line, so get out now before it eats up more of your wallet. Comics, ladies and gentlemen!

So, now, we come to the end after the Plutonian being shunted off-world, returning, learning his true origins, and being placed in a position where all he wants to do is make things better again. That last bit is interesting, because there was a period where he seemed to embrace who he is. But, having doomed the planet to a slow and painful death seems to have shaken him. He may never have been the hero everyone thought he was, but he didn't necessarily want to be the villain he revealed himself to be. It all comes down to a deal struck with Qibit, the resident supergenius, where, if the Plutonian saves the world from radiation poisoning, Qibit will redeem the fallen hero.

And he lives up to his promise, albeit in an unexpected way: he scatters the Plutonian's energy across the multiverse. Boiled down his essence and, hopefully, able to 'get it right' somehow. Cut to Cleveland, Ohio, and a teenage boy rushing to show his friend an idea he's had for a character "for the funny pages." The final panel is a sketch of a muscular man with what looks like a triangle on his chest and two notebooks on either side reading Siegel and Shuster.

The end of Irredeemable is that the Plutonian becomes the subconscious inspiration for Superman who was the actual inspiration for the Plutonian.

You know what's crazy? That's the perfect ending for this series. On the surface, it seems incredibly stupid. Sappy and cheesy, but also ill-conceived. Upon reflection, it makes more and more sense. How else could Waid have ended this series? It began as a weird love letter to Superman as Waid took the character and twisted him around, both shedding new light on what makes the character work and bringing new implied depths to the character by showing what would happen if something essential was changed. It wasn't a mockery of Superman or even a perversion necessarily; part of what made those early issues resonate so much was how apparent Waid's love of Superman was. The series avoided being cheap parody because of that. That this character inspired by Superman would find redemption in being the inspiration for Superman is the only ending that truly works. It's the ultimate redemption, the ultimate setting 'right' what went wrong -- it closes the circle in a way and makes explicit that the Plutonian genuinely was Superman gone wrong.

It also reinforces the idea that Superman is the central superhero figure. In the Plutonian's world, him 'turning bad' was what made that world 'go wrong.' Everything flows from him, just as the DCU ultimately flows from Superman.

I'm sure that others won't be satisfied with the ending to this series or hear about it and scoff. I can understand that reaction and can't offer much more except that it feels right. Knowing the writer, having read the entire series... it feels like the right way to end this series. It doesn't wrap up the plot in a neat little bow. Most of the characters are dead and those that are still alive are left exactly at the moment of the Plutonian's death/redemption. Basically, Qibit redeeming the Plutonian and us seeing that his essence leads back to Superman ends that world. He truly is the beginning and end of that world and, now that he's redeemed, it no longer serves a function. We get that world 'done right' (or close enough to right) elsewhere.

I'll miss this series, mostly for what it became after its first year. But, at the very least, I can say that Waid got off the stage before I grew tired of the book and he went out the right way.

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of May 16, 2012

For weird reasons that I don't want to go into, I didn't get comics until today. When I arrived at the shop and was handed the contents of my pull list, the trade for Deadenders was included. This surprised me, because I didn't think I had actually pre-ordered it. I knew that I had considered doing so and went back and forth on the matter a bit. Not because I didn't want it or anything; it was purely a 'Maybe I'll wait and get it a little later' sort of thing. So, I got that as a little surprise to myself and have no problem with that. I'm looking forward to reading it.

Daredevil #13: What's in the drawer? I have to say that Mark Waid fooled me a bit here. I was thinking "HA! Stoopid Daredevil! You so stoopid!" and, instead, it was a good ol' fashioned New Avengers fake-out. Nicely played, sir. I thought Koi Pham's art looked better here than last time. [***1/2]

Fury MAX #2: I know this series can't (and won't) last forever since it's only supposed to be 13 issues, but, come on, a boy can dream, can't he? I need to hunt down a copy of that Peacemaker mini-series Ennis did (I have the first mini and reread it last night; it's good stuff; obviously). Oddly, what I enjoyed most was that Fury didn't kill the former Nazi. Most writers would write the character as an unstoppable god or something... [****]

The Manhattan Projects #3: The art slipped a bit here it looks like. Just a little rougher around the edges. This version of the bombing of Japan is interesting -- as is the fate of FDR. I'm curious about the larger picture of this series. So far, it's been very much little scenes/moments on its own. That's fine. Actually, this book is entertaining enough that I think I could be happy with a monthly dose of crazy scientists playing god. But, I have a feeling this is more than that, so... [***3/4]

New Mutants #42: No rack copies. No comic purchased. No one reads that fucking series to warrant rack copies. [NR]

Scalped #58: I've long enjoyed Scalped, but the constant movement of this final arc is insane. Things move fast as we approach the end -- and only two issues left now. What's remarkable is how so much can happen, yet scenes feel so leisurely. And Guera... the second panel of page two is fantastic. The way the grocery store scene is so visual... We're also starting see possible 'replacements' of characters, which part of me likes and part of me wants to avoid as much possible. Two more. Christ. [****1/4]

Winter Soldier #5: Talk about art deteriorating... If I weren't so lazy, I'd pull out the first issue and compare then and now -- guess which will look slicker, more polished, more put together? I'm also not noticing as many colouring tricks as began the series (which I'm glad of, by the way). That's something that TV will always have over comics: episodes don't look worse and worse as the season goes on because of deadline bullshit. But, an enjoyable issue nonetheless. James letting loose a bit more than we've seen before, further cementing him as someone who couldn't necessarily be Captain America longterm. And Doom is funny. Doom is always funny. [***1/2]

Wonder Woman #9: Hey, the cover gives away the end of the issue! Smooth, DC... smooth. Azzarello's writing is so playful and... bouncy. Has anyone ever used that word to describe Azzarello's writing before? But, that's what this is. It's just bouncy fun. [***3/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of May 2, 2012

The tragedy of the day is my shop not getting any copies of Fury MAX #1. They ordered them, but they never arrived. Drat.

Action Comics #9: What are we to make of this one-off issue that doesn't really have anything to do with the series otherwise? Hell, this title seems to have little approaching a larger structure. That's not a bad thing since this was an enjoyable issue. Hints of Hexus in there -- Hexus as Superman / Superman as Hexus. And Lex Luthor of Earth 23 denying he's a racist is funny. Still, what seemed like it would be a series about the young and upstart Clark Kent has quickly become something more freewheeling -- more like I would almost imagine Morrison's idea for more All-Star Superman would be like. Weird. [***3/4]

Age of Apocalypse #3: Small moments amuse me in this series. The little one-page scenes usually, like Pierce busting Shaw's balls on that first page. I like the way this series meanders a little -- more about the characters and their world than a strict forward-moving plot. And de la Torre draws the hell out of it. [***3/4]

Animal Man #9: Reading this comic sometimes feels like riding in a car on a long trip and watching for signs that tell you how far it is to your destination and no matter how much distance you think you've travelled since the last sign, the change is small and depressing and you will never get there. Never ever. [**3/4]

The Boys #66: Similar idea to the final arc of Scalped: jump ahead a period of time and move past the immediate fallout to the 'good part.' There, it's the trial of Red Crow; here, it's the 'trial' (senate subcommittee thing) of Vought-American. And Hughie is made to look the ass in front of the Boys because Butcher is sick of his whining. And his girlfriend leaves him because she's sick of his whining. Next issue: the fat hamster kills himself because of his whining. Oh ho ho. [***1/2]

Daredevil #12: A thoroughly enjoyable comic with some great art. That's enough, right? (Though, that ending did make me wonder... what the fuck was the point of last month's crossover? Did it actually accomplish anything?) [***3/4]

The Defenders #6: Watch as the art grows increasingly bad as the issue progresses! It's like the world's worst magic trick. There's something about this issue that felt so forced. The chaos and meandering (I like that word) of the first few issues has been replaced with... I don't know what. Something. Something I don't like as much. It's not order. It's almost like continuity. Or being too pleased with itself and the self-awareness that lacks true self-awareness? Like, those 'dateline' bits that were, three quarters of the time, really lame. It's like Fraction took that Doc Brass issue of Planetary and decided that it was too exciting for the modern Marvel audience so he took out all of the clever and interesting bits. Except for the bar one. That was pure Venture Bros. [**1/2]

Dial H #1: It's like reading one of those early Vertigo comics. But without the swears or nudity. The art even looks like it came from that period. DC will eat itself -- all of it. That sounds really snarky since I did like this comic. I didn't love it. But it was solid. Good enough that I'll probably buy the next issue. [***1/2]

Exiled #1: Another crossover! Unless the Journey into Mystery issue kicks this up a notch, I can't see myself buying the New Mutants parts of this crossover. There just wan't much that I found interesting in this. Some nice little moments, but not much else. [**]

Green Arrow #9: Does this make sense to anyone else? Yet, I can't look away... [???1/2]

Wolverine and the X-Men: Alpha & Omega #5: I like how Wolverine is the type of guy who, if you kick his ass, he immediately likes you more and wants to hang out with you twice a week so he can learn how you kicked his ass and he can make sure it never happens again. Once he's done this, he will then kill you and feel a little bit bad about it, but... dude, you kicked Wolverine's ass. You do not get to walk away from that. Obviously Avengers vs. X-Men will end with Hank Pym's head on a one clawed hand and Quentin Quire's on the other. Also, Wolverine hates those thinkin' types. Probably. I don't know anymore. So... where are people placing this in Wolverine and the X-Men chronology? [***1/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of April 25, 2012

No work today, so I actually managed to hit the shop just after it opened at noon. That means almost immediate reactions to the (non-Avengers vs. X-Men) comics I bought today. Lucky you!

Captain America #10: What a terribly convenient end. Codename: Bravo (awful fucking name) has Captain America beaten and, then, gets a phone call and has to split. It's like Ed Brubaker called him up and said, "Yo, Bravo, you need to leave right fucking now, because you might actually kill that guy if you stick around and, guess what, the comic isn't titled Codename: Bravo, it's Captain Fucking America, and if he dies, then you're out of work." So, he left. Also, Steve was made weak by extra-sciencey nanothings that Tony Stark couldn't detect. You just know he's going to be asking whatever high price call girl he enjoys that night to hit him in the face extra hard. The best part of this issue is the Falcon screaming like a crazy man and making more sense than he has in years. [***]

Daredevil #11: Hey, everybody, it's official: this is the worst issue of Daredevil so far. Really. Except for when Mark Waid does a big rant on Geoff Johns for thinking heroes need tragic, blood-filled stories to be good heroes. I liked that part. Seriously: I have no idea what the fuck this crossover story was actually about and this issue was pretty goddamn terrible for its complete lack of plot, motivation, and reason why I should care. What was accomplished? [*1/2]

The Mighty Thor #13: Oh, it's like "For the Man Who Has Everything" but, instead of your greatest desire, it's just lame Lovecraft-inspired statue dudes. Oh, and Donald Blake (who may or may not be an actual human being) is... um... upset that he's not an actual human being... I think... Look, man, no one cares about Don Blake. We all like to pretend like we do, but we don't. There's a reason why he can disappear for a dozen issues and no one notices. Less Blake, more Thor fighting Lovecraft creatures. [**1/2]

Moon Knight #12: Well, that's a bit anticlimactic. It's always great to see the hero of the book need to call in back-up to beat the bad guy he's been trying to bring down for a year. Wait. No. No, it is not. I did love the awkward moment when Nefaria burst into the police station and starting bitching to the police chief about how he paid bribes to not have to deal with cops and WHY THE FUCK ARE THERE COPS AT HIS HOUSE RIGHT NOW? More comics need bad guys complaining about not getting good value for their bribes. Listen, man, it's LA... what did you expect? Also, are the voices in Moon Knight's head now Echo, Wolverine, and Iron Man? Spider-Man and Captain America are going to be so bummed out... Anyway, this series is over now and I'll miss it. Not so much the final couple of issues, but right around issues five through nine where it became this fun little hang out book where I'd stop by every month to chill with some characters I liked. This comic deserved a better ending. [***1/4]

Spaceman #6: Why this comic feel like it's running in place? [***1/2]

The Ultimates #9: Jesus... there's just so much going on here. It took a couple of passes by to realise what happend with Zorn, the nuclear weapons, and Dynamos. But, what's fantastic is that, after the threat is neutralised, we cut back to congress and everyone debating the use of nuclear weapons. Black comedy. And that ending... by the time Hickman leaves this comic, I'm wondering how there will even be a comic. Also: the People vs. the Children wasn't much of a fight, was it? Not that you necessarily expected it to be... Every new issue is something different from what I expect it to be. And pity every art team that isn't Esad Ribic and Dean White. [****]

Later

Best of 2011: The Top Ten

Finally, only four months late... If the blurbs seem a little brief it's because I just want this done. And because it's hard to capture the feelings I had when I made this list back in early January -- and to separate some of the books from what's happened in them in 2012. As far as credits go, they'll vary from title to title how detailed I get. And, of course, this list draws upon the comics I read in 2011. I almost surely missed out on tons of great stuff, but, alas, I am but one man with one wallet and one pull list. Let's get to it...



10. Secret Avengers #16-20 by Warren Ellis, Jamie McKelvie, Kev Walker, David, Aja, Michael Lark, Alex Maleev, and others.
I'm amazed it took this long for a comic like this to pop up: Warren Ellis doing Global Frequency with Marvel characters. He took a title that never quite hooked me (and one I would have dropped if he hadn't come aboard) and made it a vibrant, energetic, inventive, must read every month. Each month, it was him and a fantastic artist telling a single story of crazy superhero espionage, usually with a few moments that stopped me dead in my tracks. Ellis has hit the point where he can play to artists' strengths better than almost any writer in mainstream comics. He can mix big expository scenes and KICKSPLODE! I would gladly read a comic like this every month forever.

9. Daredevil by Mark Waid, Paolo Rivera, Marcos Martin, and others.
I admire the approach Mark Waid took with this relaunch. It was thoughtful and smart, aimed at taking the book in a different direction than it's been for... well, years (decades?). And, paired with two incredibly talented artists, it was a great pop superhero comic this past year.



8. Holy Terror by Frank Miller.
Not to be too simplistic, but it's a graphic novel drawn by Frank Miller. Forget the story, the characters, everything. It's a big book of new Frank Miller art. It may be Batman pastiche, it may get a little sloppy in parts, it may feature some of his weakest writing (goddamn, that ending is lame), but this is a book that I can flip to any page and find something to stare at, to pour over, to love completely. Most of the books on this list have some great art, but this is the only one that made it here almost solely on the art.

7. Ultimates by Jonathan Hickman, Esad Ribic, Dean White, and others.
Speaking of great art... Esad Ribic and Dean White became one of my favourite art teams this past year thanks to their works on Ultimates. Stunning, gorgeous, lush pages that manage to show a strange, foreign world that's large and insane, while still filled with these small, human moments. Thor's beard dripping with beer... Nick Fury looking completely fucked... the Black Widow's streaky mascara... the City in all its glory... the Children killing Asgard... this book lives in the extremes. Jonathan Hickman took all of two issues to completely hook me, to make me think that this is a comic that may live up to its potential and go completely batshit crazy. It was the best blockbuster comic of the year bar none.



6. Punishermax by Jason Aaron, Steve Dillon, Matt Hollingsworth, and others.
I have said this many times, but I am astonished that someone could follow Garth Ennis on this title. Ennis's run was so fucking good, such a definitive take, that the idea of others trying to write 'mature' Punisher stories in this little universe seemed destined to fail. And it did for a time after Ennis left the title. Under Jason Aaron and Steve Dillon, though, Punishermax has thrived, managing to add to and equal Ennis's run. Aaron's take on Frank Castle after he returned from Vietnam is chilling, especially with how he relates to his family. And, what's worse, is that it doesn't feel like a wrong approach to the character. It feels natural and that's insane. I don't think this title will make next year's list, so let's just pretend that the final two issues came out at the end of 2011 and remember this as one great comic. That final battle with Fisk and the final issue were both brilliant (though I still don't like the last couple of pages...). It brought Frank Castle's story to a fitting end. I still can't believe the balls in getting Steve Dillon to be the artist on the follow-up to Ennis's run, either. Awesome.

5. Batman, Incorporated by Grant Morrison, Yanick Paquette, Chris Burnham, Cameron Stewart, Scott Clark, and others.
Originally, this didn't make my CBR list of the top ten comics of 2011. That was a mistake. By the time December rolled around, this series was woefully behind and the last issue we'd gotten was that putrid Internet 3.0 issue. You can understand why, when it came to make that list, I passed Batman, Incorporated over. And, then, I talked to Tim and thought about it and Leviathan Strikes came out and reread the series and... well, here we are with it going from 'not on the list' to number five. That's because it's a damn entertaining comic. Thoughtful, energetic, crazy, layered, nuanced... and with great art by everyone not named Scott Clark. It's the next step in Grant Morrison's Batman and it genuinely comes off as something new and exciting -- something more than just a regular Batman comic. To me anyway.



4. Deadpool MAX by David Lapham, Kyle Baker, Shawn Crystal, and others.
Damn, this comic made me laugh. It was subversive and absurd, never going where you thought it would. The approach Kyle Baker brought to this comic was a combination of 'not giving a fuck' and pure straight man. Everything looks so serious that it adds to the absurd comedy. His Cable blows my mind with how it captures the over-the-top Rob Liefeld design while undercutting it with the monocle and sense that this is some prissy old dandy underneath it all. Every issue that this series went on, I was surprised that Marvel was still publishing it. I'm just sorry they never got around to using Captain America somehow...

3. Vengeance by Joe Casey, Nick Dragotta, and others.
These lists are always subjective, but this entry strikes me as more subjective than usual. Vengeance, from beginning to end, felt like a comic that Joe Casey wrote for me. He didn't obviously, but it's a comic that's so steeped in his work at Marvel that it feels that way. This is a comic so perfectly aimed at me, filled with allusions and references, starring characters that I haven't read about in years... Beyond that, it's a damn entertaining comic -- epic in scope, wonderful in its humanity, and filled with some of Nick Dragotta's best work of his career. He's quite adept at switching up his style in subtle ways. But, really, this is the comic I've been waiting years to read and it makes it this high on the list because... well, how often do you get something that seems so squarely aimed at you and only you?



2. Butcher Baker, the Righteous Maker by Joe Casey, Mike Huddleston, and others.
I agree that the Eisners didn't need to nominate anything for the "Best New Series in 2011" category -- because they should have just given the award to the goddamn Righteous Maker. If Vengeance was the comic my inner Joe Casey obsessive fan was waiting for, Butcher Baker was the comic that the Automatic Kafka fan inside was waiting for. An all-out look at superheroes that wasn't afraid to shy away from the 'adult' stuff without simply putting it out there for the sake of it. A hero comes out of retirement to kill all of his villains, except some survive and he pisses off a highway patrol man... Mike Huddleston is channeling Ashley Wood to a degree, except you can understand everything he draws. Everything about this screams thematic sequel to Kafka and, yet, it also manages to be its own thing.

1. Scalped by Jason Aaron, RM Guéra, and others.
And Scalped finally makes it to the top of the list after how many years of coming oh so close... Actually, it hit the top this time by a wide margin. When I make my lists, I tend to write down all of the comics I bought that year and begin putting contenders in a separate list. Once I do that, I begin eliminating things that I don't think make the top ten while also putting ones that will for sure make it near the top. There was a lot of movement this year for every spot, except the number one spot. Nothing else I read this year could challenge Scalped for the best comic of the year. Constantly surprising, moving, and just damned impressive... I don't know what to say. It's a book that gets better every year and, as it moves towards its end, it was at its peak in 2011. Maybe it will top itself in the first half of 2012.

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of April 11, 2012

Another week, another stack of comics, another set of EXCLUSIVE! mini-reviews and star ratings.

Avengers Assemble #2: I liked this issue more than the first. Like many modern first and second issues, I hit the end of this and thought "Hey, this is where the first issue should have ended..." Double-sized first issues were great and allowed for a stronger introduction, one that this comic definitely would have benefitted from. [***]

Avenging Spider-Man #6: Yeah, I broke down and bought this and I'll probably buy Punisher next week, because I am a sucker. A giant sucker. Particularly because this comic wasn't good. It introduced the story and then sort of fumbled around with what to do. Pages of characters arguing over what to do, none of them with anything approaching an actual idea. And the only guy with something that resembles a clear plan is dismissed as a psychopath. I get that these three characters are linked, but it always comes off as stupid to read every single time about Spider-Man and Daredevil bitching out the Punisher because of their different moral takes on crime. Then again, if I could never read a comic where Spider-Man ever has to confront the idea of someone killing someone else again, I would be quite happy, because he always sounds like a simpleminded child in that conversation. [**]

Frankenstein, Agent of SHADE #8: Walden Wong's inking continues... It cleans up Ponticelli's pencils too much. I love the roughness of them. The art still looks good, mind you; just not as good. And this was a strong issue. The Frankenstein/Lady Frankenstein relationship hasn't been touched on much and to see why they broke up, where that emotional fracture occurred and why was good. It was also a little underwhelming in a way that a lot of the stories in this comic have been: something may seem like a big threat until it's actually encountered and, then, there's a more lowkey solution than you expected. You almost expect their son to be an unstoppable monster when he's really a freaky little manic thing... And that's not a complaint. The stuff with Father Time was handled quite well, too. Strong issue. [****]

Haunt #23: A breather issue of sorts... and, unlike most breather issues, we don't learn a lot. We learn that Daniel was in the Second Church without realising it. I guess that explains why he was such a creepy perv of a priest. Well, not necessarily... I like how this series both has the frantic energy of a radical reboot and the slow burn of gradual change. It's difficult to pull that off, to move in two directions like that. And Nathan Fox's ability to go from crystal clarity to insane chaos is remarkable. [****]

Journey into Mystery #636: A fun conclusion to this storyarc. The board game bit was cute. As was the end scene. Bring on the crossover! Wait... another one? Fuck you, Marvel. [***1/4]

The Mighty Thor #12.1: Partway through this issue, I realised that the best Matt Fraction Thor stories are the ones where we're told of some past deed or accomplishment. In fact, a lot of the best Thor stories are of stories that don't take place in the present, but at some point in the character's long, cyclical life. That makes sense: the character is mythology. He almost needs to exist in a weird 'story telling the story...' world where we can view him at a distance, where the stories have a simple and direct point to them. There needs to be a message gleaned from the character and his world. Some explanation of human behaviour or emotion. By taking that 'epic' mythological approach and applying it to direct stories featuring the character, something is lost. He's too close to us and there isn't that essential message to be gleaned. So, what do we learn here? Stand up for your friends and family no matter what. Good message. Decent comic. [***1/2]

Secret #1: Intriguing start. I like Ryan Bodenheim's art. [***1/4]

Secret Avengers #25: I couldn't get into this arc. Gorgeous art, though. A story that left me cold. Bring on the event! [***]

Uncanny X-Men #10: I'm tempted to stick this in my Riding the Gravy Train post for this week with New Avengers #24 since this (and the previous issue) is very much a prologue to Avengers vs. X-Men. Captain America's line about Cyclops's first priority was great. The stuff with Unit and Hope doesn't excite me as much -- if only because I'm not a fan of the 'young confused person is manipulated by the older confident trickster douchebag' cliche. With any luck, Gillen will do something cool with it. Also, Emma's frustration that Cyclops wasn't pissed over the Namor making out was interesting. Ideally, you'd think a guy who recognises that being hit with excessive pheremones that cause you to jump on the nearest guy isn't a reason to get pissed off would be a good thing... except Cyclops is the King of Repression, so who knows if he's 'enlightened' or simply ignoring it... [***1/2]

The Unwritten #36: After issue 35.5, I'm not sure this title needed another 'breather' issue following issue 35. I was a little let down that we weren't jumping into What Happens Next. Without 35.5, I'd see the wisdom in a quick break, but... It doesn't help that this issue didn't interest me particularly. I assume the Wave has to do with the death of Pullman and the Cabal being destroyed... or does it? The weird subreality of fiction in this book is so mysterious and unexplained that it's hard to tell what any of it means in the larger picture besides Some Shit That Happens. [**1/2]

Winter Soldier #4: A decent action comic. [***1/4]

Later

EXCLUSIVE! Chad Nevett's Comic Book Mini-Reviews and Star Ratings for the Week of April 4, 2012

Since I'm no longer 'sketching' for the actual things, in the long-standing GraphiContent tradition, I've once again retitled my brief thoughts on comics I've gotten. I think this is the most accurate title yet. And sure to be a hit getter... I expected to have this up earlier today, but the Toronto Blue Jays' opening game against the Cleveland Indians went 16 innings and almost five-and-a-half hours. Which was awesome. Fantastic way to start the season. Especially since they won. Well, let's get to this because there are too many fucking comics here...

Action Comics #8: There are two things I rather liked about this comic: 1. Lex Luthor being Clark Kent's secret source. 2. Superman won ultimately by being smarter, not stronger. I guess I also liked how it poked fun at the fact that he went from public enemy #1 to everyone's favourite son in no time flat. I'm still struggling with my personal conception of Superman and Grant Morrison's conception of Superman not meshing entirely. That and the art that manages to only look attractive maybe one of twenty-three panels. [***1/4]

Age of Apocalypse #2: There's a big problem in this comic: I don't remember who any of the humans are. Nor do I care. Moving past this, this is has some nice sick moments of dark cynicism, some surprisingly strong moments of bright optimism, some good art, and, of course, alternate versions of characters we know. [***1/2]

Animal Man #8: "It's my fault that the red is in my sperm!" Just so you know, old lady, when you wish your daughter never married that guy, you're also wishing that your grandchildren had never been born, and you're pretty much ensuring that they'll kind of hate you as they get older. Sorry... that's... uh... a little too personal a reading of this comic, right? Steve Pugh's art doesn't wow me as much as Travel Foreman's spectacular work on this comic, but it's pretty good. [***1/2]

The Boys #65: This issue had the first genuine "Marshal Law moment" of the series for me. People compare the two a lot, but the tone is actually pretty different. But, when the Black Noir stood on the White House lawn, half dead, naked, his guts spilling out, and chunks of him missing... well, that made me think "This is like something I'd see in a Marshal Law comic." I like what Garth Ennis was going for here -- a bit too exposition heavy. From the end of issue 64, I figured we'd learn that the Black Noir was behind it all somehow. I didn't expect this, though. That was pretty fucked up. As was Butcher's revenge. One more big story left and where do you go from here? [***3/4]

Casanova: Avaritia #3: Christ, now I'm going to have to put up with people going "Let's. Get. Fucked." on Twitter or in blog posts for a while now, aren't I? "It's not the band I hate, it's their fans..." Always the case. Always. That said, I'm not sure this holds together completely. It may have crossed that chaos line that this comic always gets right on top of... Maybe. We'll see in June, won't we? [***3/4]

Daredevil #10.1: It's weird to watch an artist try very hard to fit in with the visual tone of a comic like this and it become apparent almost immediately that he doesn't. The art never comes together how it should, always looking unfinished... The story almost felt the same way. It's funny that Daredevil would show up and mock the bad guys, but why not take them out one by one? Why insist that they all come at him as one? There's a certain logic there... but it seems mostly fucked to me. I'm probably not getting it. That happens sometimes. [***]

Fatale #4: Gorgeous art and writing that's so relaxed, so geared towards chapters of a novel pacing that I'm tempted to set each new issue aside until the whole series is out and THEN read it. [***1/2]

Green Arrow #8: I found the seventh issue charming in the way it bounded ahead, carried by a way of banter and energy... This issue didn't have that so much. Instead of being carried away, I had to fight my way through a bit. I guess we'll use issue nine as the tie-breaker then. [*3/4]

Hell Yeah #2: This issue was an improvement over the first issue in both writing and art, but both areas can still be improved upon. I think my biggest issue with the writing is that this comic seems to (and those two words are key) want to be wild and energetic and crazy... almost like Casanova. But it's paced like something Brian Michael Bendis wrote. And I like Bendis's writing quite a bit. But, chaotic and energetic in a way that mimics what it's like to be young and full of mad, crazy ideas... that's not what he does. And this comic seems to try to do that, but doesn't give us enough and feels slight for it. It's almost like what happened in this issue and the first needed to be the first issue to really get the tone and feeling right. If what they're aiming for is what I think they are. As always, I'm probably wrong. I do like this, just not as much as I'd like to. Or they'd like me to. [***1/4]

OMAC #8: A mirror of sort of the first issue... appropriate and leaves the door open to the future. About as good as we were going to get... I'll miss this book. [***1/2]

Wolverine and the X-Men #8: I'm not entirely sure the time jumping worked, but another fun issue with some heart. And I do like some Chris Bachalo art... [***3/4]

Wolverine and the X-Men: Alpha & Omega #4: I don't like Quentin Quire as much when he grows as a character. There. I said it. [***1/4]

Later

Sketch Reviews (March 29 2012)

Avengers #24.1: Between this and Avengers vs. X-Men #0, we get a little closure on the Vision's resurrection. But, is anything of value said? I'm not sure. There's obviously value in his struggle to figure out what he should do -- and how he should react to what happened to him. It's like he feels like he should be upset or sad or... something. There's almost a sense in the She-Hulk scene of the Vision feeling let down that she immediately apologises and is ready to be attacked, saying she won't fight back. He wants to be angry, to blame someone... and there isn't anyone. He can't find the Scarlet Witch, so he's left... with nothing. Thankfully, Avengers vs. X-Men #0 provides him with the chance to tell off his ex-wife in a story that easily could have begun an event titled "Men vs. Women." This issue, though, is unsatisfying, because it's meant to be. There's no satisfaction to be gained when you come back from the dead, discover that your teammate tore you in two because your ex-wife went nuts and made you both do fucked up shit. All you can do is make strange faces and wander around aimlessly... and maybe actually kill the terrorist... stoopid android. [***1/4]

Daredevil #10: That final page is strange... The rest of the issue is good. The Mole Man actually has an odd paradoxical depth here and Paolo Rivera draws the hell out of this issue. Next month: another crossover! [***3/4]

Deadpool MAX II #6: David Lapham writes and draws this issue and that's a little strange. He previous provided art for the Christmas special and, aside from Shawn Crystal doing a couple of issues, this has been a Kyle Baker joint. As much as I like Lapham's art, it feels wrong to end this way. The tone is different... Maybe the vision is purer, more like what Lapham intended, but that wasn't the comic I was buying. I don't know... [***1/2]

The Mighty Thor #12: And, so it ends, with a completely rushed reveal that, hey, yeah, the bad guys were kind of shit here, weren't they? Yeah, they were. You can see it clearly when the two big fights end within two panels and the good guys not even breaking a sweat. I particularly enjoyed how Iron Man did nothing. Literally nothing. He just sort of stood there and went "Um... maybe we should go inside and wait this out, ladies?" As much as I enjoyed the art of Giuseppe Camuncoli and Klaus Janson (they make for an interesting pair), it's a pretty big shift from the art on this story to date. It's messy and blocky and awesome... though stuck living under the shiny D'Armata colouring that kind of makes me hate the art. Very little about this issue works -- everything that does is undercut somehow. Except for those final two pages. I dug those. I really did. [**1/2]

Moon Knight #11: Someone please tell Alex Maleev to stop using low angle shots where it looks like he's cramming the figures into the panel awkwardly. In fact, much of this issue looked akward. Madame Masque seems to lend herself to weird, stiff-looking movements... [***]

New Avengers #23: We already know how this ends. But, it's nice to see how utterly useless this group of Dark Avengers are. I still don't know who half of those people are, too. And I don't care. [**]

Scalped #57: This issue swings wildly in the other direction from last issue. It was hard to tell exactly what the conflict in these final issues would be. Red Crow v. Dash isn't dead yet, son. [****]

Secret Avengers #24: A gorgeous comic that doesn't quite click for me. I like it. I do. But something is off. The ending of this issue seemed obvious for one thing. For another... I'm not quite sure the plot matters to me. Nor am I necessarily impressed by the conceit of a magical robot city featuring entire species of robots that... wait, why are there so many Visions or Machine Men besides it being 'cool?' Still, enjoyable in its moments. [***]

Spaceman #5: Hmm... [****]

The Ultimates #8: Interesting game being played here. Reed Richards neutralises the Hulk with ease, the People look ready to attack the City, and the United States seem ready to commit suicide... Of course, that last bit won't happen, because of the effects it would have on the other two Ultimate titles. This is an issue of broad movements hidden by nice character scenes. Reed Richards doesn't say it, but there's almost a suggestion that he at least respects the Hulk for his evolutionary responses -- his ability to constantly change and adapt to situations. He fits in with the Children in a way... And Esad Ribic and Dean White continue to be one of my favourite art teams. [****]

The Unwritten #35.5: I guess this issue provides a hint at the future of the title. It spans the course of the series (more than the course of the series, actually) and introduces Pullman's replacement possibly. Good stuff. [***1/2]

Later

Sketch Reviews (February 17 2012)

Yeah, I bought comics on Wednesday. Just hadn't gotten around to this post until now. Mostly because I spent all of Thursday blowing my nose every twelve seconds -- and, on days like that, the only thing I can stand to do is watch TV where blowing my nose doesn't actually interrupt anything. I watched around 20 episodes of King of the Hill. Awesome day. Aside from nose-blowing. (I'm about a third of the way into season three of King of the Hill after getting the first five seasons on DVD from Michelle's mom for Christmas and my birthday. As I said on Twitter, I think, on the whole, I prefer King of the Hill over The Simpsons. At its peak, The Simpsons was funnier, no doubt. King of the Hill is better at blending a lot of different elements consistently -- similar to what Parks and Recreation does compared to 30 Rock, say. Also, Pamela Adlon's voice acting of Bobby is some of the best voice acting ever done. Simply stunning stuff.)

Daredevil #9: One of the weakest issues yet -- which sounds negative, of course, but it was still a good issue. Conceptually, this issue had a good focus and some of the bits with Matt's radar was quite clever... it just doesn't connect with me. In the hands of a lesser artist, this issue probably would have fallen completely flat for me. Personal preference, I suppose. [***1/2]

Uncanny X-Men #7: Damn, Kieron Gillen wrote the hell out of this issue. Then again, I have a fondness for alien lifeforms that talk down to humans... Greg Land's art didn't bug too much most of the time. That's as good as it gets with him, isn't it? [***1/2]

Winter Soldier #2: When Bucky stands up and yells "Nobody move! This is a raid!" I laugh myself silly. It's just so fucking dumb. [***1/4]

Hellblazer: Phantom Pains: The one thing that I really liked about this trade was how Peter Milligan had John forget various spells at different times. He's an old bastard, he's losing his touch, and he will fuck up even more in the future... at least if his wife isn't there to save his ass. Now the wait for the next trade begins... [****]

Uncanny X-Force: Deathlok Nation: Three issues less than the Hellblazer trade and a buck more expensive. Fuck you, Marvel. This was fine. I'd read the 'point one' issue before and found it tedious here. The 'main story' (of three issues) was entertaining in its way. The Deathlok concept never really landed as well as intended and, goddamn, Esad Ribic's art is much better on The Ultimates with Dean White on colours. This is the necessary trade that bridges the first with the third and fourth... and judging from what people are saying about the comics after that, that will probably be where I get off this little ride. I did like the Fantomex Deathlok bit. (Also, the more we explore Fantomex as a character, the less interesting he is.) [***1/4]

Later

CBR Review: Daredevil #8

I recently reviewed Daredevil #8 for CBR and, in the process, wrote the following sentences: "The conclusion to 'Devil and the Details,' the two-part crossover with Amazing Spider-Man that began last week, lives up to the promise of its first chapter. Mark Waid writing the entire story helps avoid the problems of many crossovers where a shift in tone and storytelling break up the flow and cohesion of the narrative. Instead, the only shift is from Spider-Man’s narrative perspective to Daredevil’s, which is also story-driven since it begins a Spider-Man story and ends a Daredevil story. And, like the first part, Daredevil #8 has some pretty great-looking art, swapping Emma Rios for Kano with colorist Javier Rodriguez sticking around to help provide some visual coherence between the issues."

You can read the rest HERE!

CBR Review: Amazing Spider-Man #677

I recently reviewed Amazing Spider-Man #677 for CBR and, in the process, wrote the following sentences: "It’s been 30 issues since Mark Waid last wrote Amazing Spider-Man and he’s returned to the title for a short crossover with Daredevil. Continued in next week’s Daredevil #8, 'Devil and the Details' has Spider-Man enlisting Daredevil’s help after the Black Cat is arrested for a robbery, assuming that Matt Murdock may be the lawyer she’ll need to clear her name. It’s a simple plot that can be done in two issues and allows Waid to focus on the characters, an area where he excels. That and Emma Rios on art makes Amazing Spider-Man #677 a great start to this two-issue crossover."

You can read the rest HERE!

Sketch Reviews (December 21 2011)

The sooner we get past all of this, the sooner I can relax... and sleep and hang out and just enjoy six days without work. No offence.

Batman: Odyssey #3: Deadman going batshit crazy on those trolls was fun. The 'war' was more tell than show. And Batman can't kill because wah wah wah. Loser. [***1/4]

Daredevil #7: Another holiday issue, Marvel? You made my heart grow three times. The best part is obviously "I hate that guy." [***3/4]

Punishermax #20: The strongest issue of this arc yet. The various flashbacks/memories were excellent -- and Frank showing how he'll sacrifice everything to win seems like it will come back into play. No one is getting out alive, folks. No one. [****]

Wolverine and the X-Men #3: I REMEMBER QUENTIN QUIRE! [***3/4]

Wonder Woman #4: Goddamn, that sequence with Hera on Paradise Island... goddamn Cliff Chiang! Also, that final page is just Azzarello showing off. [****]

I also got Officer Downe: Bigger Better Bastard Edition because I am a sucker. And, yes, Mr. Casey, I take that whole spiel about no subtext to be a challenge. Fuck your intentions. Like I care.

Later